Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.

An unexpected discovery while riding the tube in 1988 altered the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's buzzing 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"It was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."

Although Enninful appears nostalgic, he is in good company. Lately, a longing look back of the 1990s has grown intense. However over the last thirty years, Enninful feels a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This regression is increasingly evident: the resurgence of nationalist groups, the backlash against social awareness, and the reinforcement of narrow beauty standards. In place of the hope of the previous decade, today a different political figure appears as a possible leader. Even, the British flag, once an emblem of national pride, has become contentious again.

For Enninful, the antidote has consistently been to champion culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of influential figures from art.

"Those in a position of influence should use it," he asserts, referring to those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain was not a welcoming country, if it refused my family a home and an education. That’s the Britain I cherished. I trust this phase will end."

The Younger Generation's Awareness

He takes comfort in the youth of today: "They’re much more aware than we were. They discuss unconscious bias – I had no concept what that was."

The beginnings of his career would forge a groundbreaking career marked by boldness and representation. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales increased.

"When you ignore vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has since founded his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He states his aim to continue being a "change-maker".

"I constantly interrogate the established norms. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I became the 'other'. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … all that gave me a dual identity on the inside and the outside."

Contrary to the stereotype of industry figures as brash and temperamental, Enninful is calm and projects peace. His journey has not been immune to hardship, including openly discussed periods of depression and addiction.

He has also faced serious health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I experienced such a dark place for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to be defined narrowly has led him away from the realm that made his name. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and highlight those who lacked due recognition at the time.

"The establishment often failed to celebrate the truly innovative creators because they weren't of the expected background," he observes.

The magazine 72 itself operates on a unique strategy, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a broader vision."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most influential creative power brokers. His path, he states, is a demonstration to the power of defying expectations.

What would the Edward of the 90s react to the his current self? He chuckles. "He’d be in shock, but he’d be pleased. Back then I was a rebel. I didn't think institutions like Tate were within my reach."

He pauses. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have doubted me my whole career. But I am unstoppable once I’ve decided to do something."